Looking back at the previous examples from the verse and pre-chorus riffs, this rhythmic pattern is generally maintained in both riffs. In the Chorus, however, there is a significant change as the three-note pattern has the eighth note in between the sixteenth notes. Unlike the main riff, that three-note pattern is not interrupted by either a quarter-note or two eighth-note attacks. Without those interruptions, the continuous three-note pattern over the course of the first measure and third measures sound faster and more active. By having the sixteenth notes at the beginning and end of the three-note pattern, the rhythm sounds more jarring.